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Sinfonia per uno strumento solo
_4.48 Psychosis _is a gesture of trust and complicity toward the theater and at the same time a cry of rage against the world. Kane continues with this text the path of progressive disintegration of dramatic structure that she had started in her previous experiences. In Psychosis there are no longer characters but voices that tell, cry out, suffer and even play, intersecting with each other and stealing time. Fragments of experiences, memories, smells and sensations, resurface to the memory in a chaotic, sudden way, with no apparent logic: all however united from a common denominator, pain. No more captioning, no more set design, in this latest effort by Kane: the theater goes back to being an absolute, harsh cavity, with no suggestions or consoling effects, no illusions. Punctuation also disappears then, and even the setting of the written page undergoes constant shudders, typographical earthquakes, as if the words automatically detach themselves from their natural context to rise to autonomous life, like stones from hurled at someone. Theater can, knows and must throw its provocations, its stones at the well-meaning, otherwise it has no reason to be. Every process of evasive sweetening, of gratifying respectability, of civic composure, of success, of integration into institutions, is actually the very grave of theater.
by Sarah Kane
with Micaela Ezra
directed by Walter Pagliaro
Gianni Santuccio Cultural Association production
stage layout to by Walter Pagliaro
assistant director Ilario Grieco
translation Barbara Nativi
costumes Theatrical Tailoring "The Attic"
photo by Mattia Simoncelli
Walter Pagliaro, director, architect, and lecturer was for ten years among the closest collaborators of Giorgio Strehler, who made him debut at the Piccolo Teatro in Milan with Beckett's Waiting for Godot and Corneille'sIllusion Comique. from that time Pagliaro has produced more than 100 shows, including prose and opera. from recall:_The Prince of Homburg_ and _Anfitrione _by Heinrich von Kleist, at the Teatro Stabile di Genova; Timone d'Atene by William Shakespeare, at the Teatro Stabile di Torino; _Il malinteso _by Albert Camus and to porte chiuse by Sartre, at the Teatro Stabile dell'Umbria; _La governante _by Brancati and La Mennulara by Simonetta Agnello Hornby, at the Teatro Stabile di Catania; Letteratura by Schnitzler; Praga magica by Ripellino; La Cagnotte by Labiche, for the Festival dei due mondi in Spoleto. In 1995 he founded with Micaela Esdra the Gianni Santuccio Cultural Association, with which he produced: _Casa di Bambola _by Ibsen, _Antigone _and Electra by Sophocles; Time and the Room by Botho Strauss; The Chaperone by Nina Berberova, _Signorina Else _and the Contessina Mizzi by Schnitzler, Phaedra by Racine, The Love of Phaedra, by Sarah Kane, At the Goal by Bernhard, etc.
Operatic directorships include: Wagner's L'anello del Nibelungo, Teatro Petruzzelli in Bari; Bellini's La Norma, at the Massimo in Palermo; La Battaglia di Legnano at the Bellini in Catania and at the San Carlo in Naples; Mozart's La Clemenza di Tito, at the National Theater in Prague, the Petruzzelli in Bari and the Teatro Comunale in Modena; _La favorita _by Donizetti, La Molinara by Paisiello and La brocca rotta by Testi at the Teatro Comunale in Bologna.